1. On cohabitation and conflict of religious persuasions, monarchy, constitution and political ideologies during various moments of national celebration, see Jeroen Jannsens, De Belgische natie viert: de Belgische nationale feesten, 1830–1914, Leuven: Leuven University Press, 2001.
2. Suzanne G. Cusick, ‘Feminist Theory, Music Theory and the Mind/Body Problem’, Perspectives of New Music, 32, 1 (1994), 8–27, 14.
3. Gina Bloom, Voice in Motion. Staging Gender, Shaping Sound in Early Modern England, Philadelphia: University of Pennsilvania Press, 2007, 15.
4. The role of music in the development of nationalism has been researched for most of Western Europe. See, e.g., Philip V. Bohlmann, The Music of European Nationalism: Cultural Identity and Modern History, Santa Barbara: ABC Clio, 2004.
5. On the relation between (historical) musical scores, their performance, and the possibility to ‘read’ performance from scores, see, e.g., Mark Delaere, ‘De toekomst van de muziekwetenschap: wat is een partituur?’ Tijdschrift voor Muziektheorie, 11, 1 (2006), 31